Occupy Wall Street Art: www.occupywallstreet.org

What the Occupy Wall Street movement lacks in organizational clarity in its direction and goals, it makes up for with enthusiastic free-form grassroots activism that has gathered contagious pacifist support by way of visual virals – posters, signs and graffiti – awaking solidarity across the globe.

Occupy Wall Street posters- www.occupywallstreet.org

Adam Nelson Photo from Occupy Wall Street Demonstration

Though the media has been rather slow to cover the protests and the establishment quick to stifle any dialogue with pepper spray, it has gained more salt with such seasoned supporters as Noam Chomsky and Michael Moore who have issued statements helping to legitimize the struggle for many across America.

Here is a random selection of images, with more information and links listed below.

Adam Nelson Photo from Occupy Wall Street Demonstration

Banksy Political Graffiti

Adam Nelson photo from Occupy Wall Street protests

Adam Nelson Photo from Occupy Wall Street Protest

Occupy Wall Street Art: www.occupywallstreet.org

From the Peoplescube.com

Signs from Occupy Wall Street - Hangman noose from http://rafaele.tumblr.com/#7

Occupy Wall Street Art - Found and made - www.occupywallstreet.org

Why did you pepper Spray Me? Cartoons

Click here for more cartoons
For livestream and information: Occupy Wall Street
Some of the official posters can be downloaded for digital distribution from the OnlineWallSt.org.
More Photos from Adam Nelson’s facebook stream

The Brooklyn Griffin, © Robots, GiantRobots.co.uk

Robots an art collective in London creates public interactive sculptures, giant robots, from recycled furniture, old wood and rejects from leftover trash that prove for them, that ‘one man’s rubbish is another man’s treasure.’ The two artists, former movie-set builders, Jimmy Bumble and Leonard White, also constructed the Brooklyn Griffin on a trip to New York last year.

Slinkachu's Relics, 2009. Photograph: Slinkachu ©Slinkachu

During all the furor over Banksy’s nomination for the Oscars (he was denied the option to show up in disguise) many street artists took to the streets of Los Angeles taking advantage of the added spotlight.

D*Face in Los Angeles, Courtesy of the Artist

© Robots, GiantRobots.co.uk

Banksy, LA Trailer - This Looks a Bit Like an Elephant

Banksy LA Trailer, This Looks a Bit Like an Elephant

Mr. Brainwash in Los Angeles: http://www.unurth.com/1009722/Mr-Brainwash-Banksy-Oscar-Los-Angeles

In London Slinkachu has been getting attention for his tiny street art sculptures. And Issac Cordial’s microcosms, sometimes overlooked in pedestrian traffic, invite people to stop and take a closer look…

Follow the Leader, from Cement Eclipses series, placed in a Hackney puddle in 2010. Photograph: Isaac Cordal ©Isaac Cordal

Phlegm @ Black/Light Gallery, London, curated by Robots

A week long event of international street artists ROA and Phlegm curated by Robots is at Black/Light in London till 5th March

VICTOR SKREBNESKI (B. 1929) portrait of Dennis Hopper, 1990 gelatin silver diptych signed and dated in ink (on the recto) overall 19¼ x 29¼ in. (48.9 x 74.3 cm.) Sold: $9,375

Dennis Hopper (R.I.P.) began his art collection in the 1960s after actor Vincent Price, who was an impressionist art collector himself, had encouraged him, telling him it was where he needed to put his money. Dennis Hopper’s four children auctioned off their dad’s collection of 300 works of art at Christie’s today. Alex Hitz, a close friend and trustee of the estate told Associated Press, “it was Dennis’s wish to sell everything. How do you cut a Warhol and all those other wonderful pieces by four?”

One of the more notable pieces in this collection was Warhol’s Mao, a framed screenprint of Mao Zedong with two bullet holes, resulting from a wild night of partying when Hopper mistook the portrait on his wall for Mao himself and shot at it. When Hopper showed the bullet punctures later to Warhol, the pair agreed to call it a work of collaboration, with Warhol drawing circles around the two holes and labeling them “warning shot” and “bullet hole.” The mystique obviously added to its value as the screen print, which was estimated at $20-$30K, fetched quite a bit more: $302,500

ANNIE LEIBOVITZ (B. 1947) Portrait of Dennis Hopper and Christopher Walken at Chateau Marmont, 1995, Estimated at $3-5K sold for $12.5K

Andy Warhol’s Mao, with Dennis Hopper’s bullet holes

JOEL-PETER WITKIN (B. 1939) Portrait of Nan New Mexico 1984

Meanwhile today at Bonham’s in London, the Urban Art Auction cleaned house today. Shepard Fairey’s ‘Change,’ (2008) Obama poster, one of an edition of 5000, which was signed, sold for £4,560. Banksy’s ‘Rude Copper’, (2002) sold for £9,600, and ‘Everytime I Make Love To You I Think Of Someone Else’, (2003) sold for a nice £42,000.

©Banksy, 'Everytime I Make Love To You I Think Of Someone Else', 2003

Mr. Brainwash, aka Thierry Guetta, holding court over his maze on West 13th Street

“If you do something you love, you become an icon, because you do it so well that in one moment, everybody appreciates it,” says Thierry Guetta, leaning back in a paint-splattered Eames lounge chair in the middle of his newest exhibition, Icons. The street artist-turned gallery sensation went on to talk about his time spent decorating the walls and sidewalks of New York: “The street is just a large gallery to me. Even the people that don’t like it are obligated to see it. There are no rules on the street, there is just freedom. Thousands of people can see it.”

During the first week of his debut New York show, it’s safe to say that no one could have anticipated the turnout that the gallery at 415 West 13th Street has seen. “People started lining up at five o’clock in the morning to get into the gallery, because they knew they were going to get a screen print.” In the few days since the show has been open, it’s received an incredible amount of foot traffic, attributed directly to the marketing phenomenon behind Guetta’s show, his alter ego, Mr. Brainwash.

Mr. Brainwash's Street Art in the Meatpacking District

A highly excitable man with a wild nest of black and gray curls sitting underneath his signature fedora, Brainwash spoke to me through an old pair of aviators, their lenses splattered with paint. I questioned their practicality, but it just adds to the “Mr. Brainwash starter kit,” complete with a pair of old sneakers and jeans so thoroughly covered in every shade of paint imaginable, it almost seems contrived. Almost. Until he starts speaking about his art, frantically moving around the 15,000 square foot gallery. “So the other day I was hanging this painting of Madonna and I thought that I would like to color her face more.” He reached up to said painting and recreated smearing paint on his hands and rubbing it across her eyes and mouth. I said I liked it. “I’m always added to my work, even years from now, I will look at something and want to change it. I’m not a guy who gets mad when someone is carrying one of my paintings and he drops it. I’m not going to run up to him and yell at him about how he destroyed it and it’s worth so much money. I’m going to say ‘You know what, it looks beautiful.’ Accidents can improve work. I accept everything that happens to me in a good way. It’s always enjoyment to me.” I considered testing this theory by reaching up and ripping a piece of vinyl off the broken-record collage on the canvas that we stood admiring, but knowing what I do about how much his work has been going for since his first show, I decided against it.

From Mr. Brainwash's "Icons"

As we strode through the gallery, the door never stopped opening. People were in and out all day, some staying for hours at a time and reclining on the furniture with friends. The look on their faces was a calm, satisfied one. They could understand the art they were seeing and enjoy it. It’s wasn’t overly cerebral for the Sunday afternoon browsers, tire kickers, and tourists.

Amidst the chaos, SPREAD ArtCulture was able to get him to sit down (not an easy task) and give us the details on his new work and artistic philosophies.

SPREAD ArtCulture: Tell us about your show. What makes someone an icon?

Mr. Brainwash: It’s people who really give deep effort in life and make something out of it. And what I like about icons, there are some people who come from nothing. Take Jimi Hendrix: I’m sure he came from a poor family and things, but he had the passion in life and he had something he wanted to do. He was not just about money or success but it was about believing in something he loved. If you do something you love, you become an icon, because you do it so well that one moment everybody appreciates it. It’s like the guy from Twitter who is twenty-five. To do something so giant that everybody in the world are using what he did and he’s twenty-five! It’s for me to show the people that you can do it. There’s a possibility you just have to do what you love in life. All of the people (in this exhibit) they’re just normal people, just like everybody else. Somewhere it’s like giving a message to the ordinary people that you can do it. Just go for it.

SAC: Your work is influenced, quite clearly, by some of today’s commercial art frontrunners: Shepard Fairey, Banksy, and Warhol’s ubiquitous pop art portraits. How is what you’re doing different from what they’ve already done?

Mr. B: When I did my first show, a lot of people said, “He looks like this, it looks like this guy’s,” but somewhere, it’s like I’ve said, you cannot judge somebody by their first show. You have to let them evolve. Like my new show, “Icons,” I don’t see any resemblance of any other artists today. You couldn’t say that you see Shepard (Fairey)’s work. I don’t see it. You couldn’t say, “This looks like a Banksy.” Little by little, I’m finding my way of being my own artist. I don’t believe that nobody doesn’t look at someone else. That’s what the recycle of the world is. It’s like me putting a taxi in a box. I’ve never seen it before and it’s something that I wanted to do.

SAC: What are you doing to further culture?

Mr. B: I don’t think too much, the only thing I do is try to do something that will make people happy. I’m not here to judge myself or what’s going to happen to me in my life. You can’t judge someone without knowing him, you need to give him time to do his own thing. During my first show, they were trying to judge me and I asked them to “Let me go, it’s my first show. You’ll see if I’m a copycat or if I’m good or bad.” You cannot get away from talent. If you have it, you have it.

SAC: Do you have talent?

Mr. B: Talent is something that is a judgment. I just work. My talent is just to work. Every single day is another life to me. One life, one day. The next day is another life. You have to be in the moment. I do everything with passion. You can have talent, but not use it. There’s a million people who are more talented than I am, but maybe they don’t work to get it all out.

SAC: Are you going to keep filming?

Mr. B: I don’t know. I’m so involved with making art now, I don’t have the time. I did it for so long: twelve years non stop. I have more than thirty-thousand hours of footage. I’m going on another path.

SAC: What do you want people to think and feel about your art when they come into this exhibition space and see your work for the first time?

Mr. B: I want people to have fun. I want for them to be able to do something with it, to get influenced by it and maybe go home and start doing some art of their own. Right now, sitting here with you, I hear kids running around and to me, this is the best thing possible. I didn’t do anything wrong with this show. It would come with too strong a message, because maybe a kid would see it and not understand it. You can bring people from two years old to seventy-five years old and they can enjoy the show. I will let the other artists be controversial. I just want people to smile.

"There are no rules or judgement in the world of art for me." -Mr. Brainwash